76
CHRISTINE BOURDETTE Riddles, Bunnyheads, and Asides
CHRISTINE BOURDETTERiddles, Bunnyheads, and Asides
CHRISTINE BOURDETTERiddles, Bunnyheads, and Asides
The Art Gym
Marylhurst University
Marylhurst, Oregon
Christine Bourdette: Riddles, Bunnyheads, and Asides
Copyright © 2008
The Art Gym
Marylhurst University
17600 Pacifi c Highway
Marylhurst, Oregon 97036
www.marylhurst.edu
ISBN 0-914435-52-3
This catalogue, Christine Bourdette: Riddles, Bunnyheads, and Asides, is being
published on the occasion of the exhibition Christine Bourdette: Riddles,
Bunnyheads, and Asides in The Art Gym at Marylhurst University, September 7 –
October 22, 2008. Terri M. Hopkins, director and curator, The Art Gym, Marylhurst
University, organized the exhibition.
No part of this book may be used or reproduced in any manner without written
permission from the publisher, except in the context of reviews.
Photography:
Bill Bachhuber | Pages 8 (Tête à Tête), 25, 31, 35, 49 (Real or Imagined?), 50–51, 67
David Browne | Pages 6 (Lasso), 16–19, 21, 22 (Punch and Comma), 40–46, 71
Brian Foulkes | Page 62
Jerome Hart | Pages 12, 14–15
Stewart Harvey | Pages 7, 65
Rebekah Johnson | Pages 4, 8 (Clutch), 22 (Bonnet), 27–29, 47, 52, 54, 64 (Cluster I), 72
Greg Kozawa | Pages 3, 26, 30, 32–33, 52–53 (Daedalus), 55–61, 63, 64 (Muss), 65, 70
Jeff Lee | Page 68
Jim Lommasson | Page 39
Ness-Pace Photography | Page 38
Harold Wood | Pages 6 (Alter Egos: Angelcakes), 48, 49 (Alter Egos: Domino)
Design: Meris Brown, www.FancypantsDesign.com, Portland, Oregon
Editing: Mary Catherine Lamb, copy editor; Judy McNally, Tesner essay editor
Printed by Hing Yip Printing Company, Ltd.
The Art Gym is a program of the Marylhurst University Department of Art and Interior
Design. Exhibitions and publications are made possible in part by grants from the
Regional Arts & Culture Council, Oregon Arts Commission, National Endowment for
the Arts, and enlightened individuals and businesses.
Escape, 2001
Steel wire, wood, mattress ticking, tacks, and wax | 25 x 94 x 14 in.
Collection of Joanne Rollins
Glad-hand, 1994
Pastel and graphite on paper | 29 x 23 in.
Collection of Jeffrey Smith
TABLE OF CONTENTS Preface 6
Terri M. Hopkins
Acknowledgements 9
Terri M. Hopkins
Artifacts of the Human Experience 11
Linda Brady Tesner
Plates 37
Exhibition Checklist 66
Curriculum Vitae 68
In 1981, Christine Bourdette was one of four artists in the exhibi-
tion 4 Constructions at a new college gallery called The Art
Gym located in the Portland metropolitan area. The Art Gym at
Marylhurst College (now Marylhurst University) had opened its
doors just a few months earlier and was hoping to position itself
as an adventurous program of exhibitions and publications that
took the art of the Pacifi c Northwest seriously. Bourdette had
begun to make a name for herself and had recently completed
two major installations, Garden State at the Portland Art Museum
and Standing Target at the Contemporary Crafts Gallery. It was
a year when both the artist and the gallery were emerging,
although the artist (as is only right) was a few strides ahead. For
The Art Gym, Bourdette created Fleet Suite and installed its sail-
like forms high in the gallery’s metal roof trusses. She then took
off for Chicago.
Chicago was good to Bourdette. It had a burgeoning art
scene, and Bourdette jumped right in. She had a tiny studio
near Wrigley Field, which cramped the potential scale of her
studio work, so she sought out opportunities to work large and
in public spaces. The Randolph Street Gallery, a well-known
alternative space, invited her to participate in The Loop Show, a
1981 exhibition of twenty artists in architect Louis Sullivan’s Fisher
Building. She also began a decadelong relationship with the
Klein Gallery.
In 1983 Bourdette returned to Portland, where she has continued
to live and maintain studio and public art practices. In 1985 The
Art Gym participated in a national tour of the exhibition Rites
of Passage. The show featured many small-scale works, often
inspired by folk art and frequently featuring fl at fi gures in silhou-
ette. Accompanied by a color catalogue, the show originated at
the Alexandria Museum in Alexandria, Louisiana, and traveled to
Ohio University, Milliken University, and the Klein Gallery.
Christine Bourdette: Riddles, Bunnyheads, and Asides picks
up shortly after Rites of Passage left off and follows the artist’s
course as she developed a fully three-dimensional vocabulary
and a mastery of materials. The show includes more than fi fty
sculptures and six drawings from 1987 to the present and is the
most comprehensive exhibition of Bourdette’s work to date.
Bourdette makes art that comments on social, political, and
simply human predicaments. Her commentary is often indirect
and laced with humor that appears to grow out of both affection
and frustration with the foibles of our kind. Linda Brady Tesner,
curator of the Hoffman Gallery at Lewis & College, has written
an essay for this book that beautifully tracks and elucidates
Bourdette’s themes and formal explorations since 1987. In an ef-
fort to provide readers with a fuller understanding of the scope
of Bourdette’s work, we have chosen to include illustrations not
only of works in the exhibition but also of those that we were
not able to include due to space limitations.
PREFACE
Lasso, 1993
Pastel on paper | 36 x 48 in.
Opposite:
Asides, 2004–2007
Leather, wood, cardboard, pigment, and wax | 44 x 13 x 11 in. each (approximate)
6
Over the past three decades Christine Bourdette has become
one of the Northwest’s most accomplished sculptors. Bour-
dette’s artworks are included in many private and public col-
lections, including those of the Portland Art Museum, Tacoma
Art Museum, Boise Art Museum, and Reed College. Her public
commissions can be experienced in numerous cities, including
Portland, Seattle, and Phoenix. She is also known for her collab-
orations with other artists such as choreographers Mary Oslund,
Minh Tran, and Kristy Edmunds, and fi lmmakers Jim Blashfi eld
and Joanna Priestley. In 1992, Christine Bourdette became the fi rst
recipient of the Bonnie Bronson Fellowship Award, and, in 2000,
the Regional Arts & Culture Council honored her with a Visual
Artist Fellowship. These have been decades fi lled with formal,
intellectual, and collaborative investigations beyond the scope
possible in an exhibition or book, and we hope our efforts will
encourage viewers and readers to explore her work further.
Christine Bourdette: Riddles, Bunnyheads, and Asides joins more
than fi fty exhibition catalogues published by The Art Gym at
Marylhurst University over the last twenty-eight years and be-
comes the most recent volume in our ongoing effort to expand
public understanding of the art of the Pacifi c Northwest. It is a
region fortunate in its artists and consequently rich in art.
Terri M. Hopkins
7
Tête à Tête, 1996
Muslin, rubber, and wood | 21 x 4.5 x 4.5 in; 22 x 4 x 4 in.
Right:
Clutch, 1996
Oil stick and watercolor on paper | 40 x 26 in.
Collection of Allen Tooke and Marcia Truman
8
Over the past two years as we have worked on the Christine
Bourdette: Riddles, Bunnyheads, and Asides exhibition and
book, many people and organizations have been generous
with their time and resources.
The Regional Arts & Culture Council awarded The Art Gym a
project grant, which provided seed money once again for a
major exhibition and publication on the work of an Oregon art-
ist. The Oregon Arts Commission and the National Endowment
for the Arts continued to recognize and support The Art Gym
program. These public investments provide economic support
and encouragement for our efforts to add to the community’s
understanding of the art of our region.
We are also sincerely grateful to the many individuals who
have recognized the importance of this exhibition on the work
of Christine Bourdette. We offer special thanks to our major
sponsors Lindley Morton and Corinne Oishi, Larry Kirkland and
Brendan Doyle, the Elizabeth Leach Gallery, and Joan and John
Shipley. We greatly appreciate the generosity of friends of the
artist and The Art Gym who understood the merits of this book,
including Ricardo Lovett, Martha Banyas and Michael Hoeye,
Elaine and Warren Bourdette, Carol Edelman, Teresa Jordan and
Hal Cannon, Betty Lovett, Sally Lovett, Don Merkt and Melissa
Stewart, Marilyn Murdoch, Traci Parker, Joanna Priestley,
Fernanda D’Agostino, Trude Parkinson, and Mark Teppola.
Collectors, both private and public, are the stewards of art. We
thank the Portland Art Museum, Tacoma Art Museum, Reed Col-
lege, and Regional Arts & Culture Council for allowing us to pres-
ent works from their collections in Christine Bourdette: Riddles,
Bunnyheads, and Asides. Private collectors play a critical and
essential role in the ability of artists to make a living, continue
to live in our community, and contribute to its cultural life. This
exhibition would not have been possible without their generos-
ity, and we thank them all.
We also acknowledge Elizabeth Leach, Daniel Peabody, and
Nathan Bowser of the Elizabeth Leach Gallery in Portland, Or-
egon, for their assistance and advice as plans for the exhibition
progressed; and Kate Bonansinga, director of the Stanlee and
Gerald Rubin Center for the Visual Arts at the University of Texas
at El Paso, for her help in facilitating contact with collectors.
This spring, The Harold & Arlene Schnitzer CARE Foundation and
Linda Hutchins and John Montague helped The Art Gym launch
The Art Gym Publications Fund. This new fund provides a much-
needed base of support for this and future publications. We
thank these Publications Fund donors for their recognition of the
importance of documenting the art of the Pacifi c Northwest and
our role in that endeavor.
ACKNOWLEDGEMENTS
The design of this book owes everything to the talents and
insights of Meris Brown of Fancypants Design in Portland,
Oregon. This is the fourth publication Brown has designed for
The Art Gym. Her exceptional ability to understand the nuances
of the art at hand and create a book that delights as it unfolds
has been a pleasure to witness, and we thank her.
I also wish to acknowledge the work and support of my col-
leagues at Marylhurst University. Paul Sutinen, co-chair of the De-
partment of Art and Interior Design, has been a trusted sounding
board for thirty years. Staff Assistant Kim Heinrich has provided
ten years of invaluable behind-the-scenes management and
clerical assistance. And Peter Qualliotine, The Art Gym preparator,
provides inventive problem-solving and respect for the art and
artists for each installation. I am fortunate to work with them all.
Finally, I have had the privilege of organizing this exhibition in
collaboration with Christine Bourdette. I thank her for the many
hours she has devoted to preparations for the exhibition and
publication, and for making all the hard work fun. Most impor-
tant, on behalf of Marylhurst University and the larger commu-
nity, I thank her for the art.
Terri M. Hopkins
Director and Curator
The Art Gym
9
Artifacts of the Human ExperienceLinda Brady Tesner
Totem, 1986–87
Found wood, plaster, sheet metal, and paint | Dimensions variable, approximately 72.5 x 90 x 15 in.
12
A survey of sculptures by Christine Bourdette might remind the
viewer of the imaginary encyclopedias of Jorge Luis Borges, or
tales by Italo Calvino. Or perhaps they could be taken for ex-
amples of arcane fauna and contraptions found in Luigi Serafi ni’s
Codex Serafi nianus,1 so much do Bourdette’s works reimagine
the fl otsam and jetsam of civilized life. The artist, now in midca-
reer, has for more than two decades been giving her audience
creatures and contrivances that gently remind us of what it
means to be human.
Bourdette studied painting at Lewis & Clark College, but as an
emerging artist in the 1980s she turned her attention to installa-
tion and sculpture. In recent years her oeuvre has broadened
to include public art installations and stage design for chore-
ographers Judy Patton, Minh Tran, and Mary Oslund. Much has
been made of Bourdette’s coming of age during the height of
minimalism; this certainly had an impact on her work. But her
formative years also coincided with a burgeoning awareness
of folk art.2
Bourdette’s Early Works: The Human Figure
The earliest artwork in this exhibition is Totem (1986–87), a group-
ing of seven skeletal fi gures in roughly human scale. Made from
found wood, sheet metal, plaster, and cement, these appear to
be hastily jerry-rigged, as if the artist quickly sketched in space.
The fi gures, attenuated and tottering, are animated toward one
another and to the viewer: One fi gure is holding its hands to
its ears as if in disbelief, another has its arms folded across its
chest, the smallest (a child?) is gazing up at a taller fi gure. Totem
addresses a theme to which Bourdette has returned time after
time: beings in community.
13
Scapegoat, 1987
Found wood, birch veneer, paper target, wire mesh, and plaster | 70 x 16 x 15 in.
Collection of Larry Kirkland and Brendan Doyle
Around this time, Bourdette learned about the Guanajuato
mummies from an artist friend who had seen them and was
developing a series of prints based on them. This collection of
accidentally mummifi ed bodies was discovered in a cemetery
in Guanajuato, a city northwest of Mexico City, where a kind of
grave tax had been imposed on the families of those buried.
Between 1896 and 1958, the corpses for which families were not
available or were unable to bear the tax were disinterred and
placed on display in Guanajuato’s Museo de las Momias. The
notion of human beings collected in death as a visual documen-
tary of a community, the idea of them as memento mori, and
the frozen expressions and gestures of the mummies intrigued
Bourdette and led to the making of Totem, the title of which refers
to the emblem or symbol of a family or clan. In this work, the
“symbol” is the same as the grouping.
Scapegoat (1987), another early object, has roots in folk art aes-
thetics; it feels like the edgier cousin to a wooden animal image
carved in Oaxaca. The sculpture was Bourdette’s response to
AIDS, made at an early stage in public awareness of the pan-
demic. The artist empathized with those she knew who, having
been diagnosed with the disease, had to deal not only with the
overwhelming medical and emotional burdens brought on by
AIDS, but also with being stigmatized for their illness as well as
for being homosexual. Scapegoat is a decidedly anthropomor-
phic fi gure, nearly six feet high, teetering on spindly legs, each
leg split high as if cloven. The fi gure’s arms are akimbo across
a truncated body; a paper target shields its pelvis. Its head
is cloaked, as if in preparation for a hanging; only a beaklike
nose can be seen under the hood. The image is of uncertainty
and fear, but also ambivalence and fragility. As the title implies,
someone has become a scapegoat, a target for blame.
In 1987, Bourdette completed a pivotal installation of life-size
fi gures she called Squatting Melissas (named for her studio
model).3 Here the artist reinvented the theme of humans in com-
munity, which she had begun to explore in Totem. The primeval
Squatting Melissas have arms and legs of wood and bodies and
heads of wire mesh and plaster, stained to look as if wrought
from stone. In contrast to the fi gures in Totem, the Melissas are
more fl eshed-out than skeletal, but they are archaic enough to
inspire one writer to compare them with humans ossifi ed for
eternity in Pompeii.4 The artist had experimented with other
squatting fi gures, beings with human hands and feet but animal
heads that recalled Egyptian canopic jars. In a 1986 performance
at the Portland Art Museum called Common Nature, Bourdette
had arranged these earlier creatures in a reimagined, surreal
Garden of Eden.
In all, Bourdette positioned six Squatting Melissas in a circle, as
if she had captured them in candid moments of daily life: in
contemplation, in conversation, drawing in the dust, giving
birth. The artist was inspired by her travels in Asia, where she
observed Third World people doing much of their daily busi-
ness in this hunkered posture. In the rich experience of travel,
Bourdette especially appreciates the opportunity to refl ect
on her own culture in relation to other cultures. In this instance,
she was struck by how little space Third World people require
14
Squatting Melissas, 1987
Wood, wire mesh, plaster, and paint | Life size, dimensions variable
Multiple collections, including the Portland Art Museum and Tacoma Art Museum
15
From left to right:
Cosmonaut, 1988
Wire mesh, pigmented plaster, comics | 63 x 28 x 33 .in
Collection of Betty Thomas
Falling Angels, 1989
Wire mesh, plaster, paint, and wax | 55 x 22 x 18 .in
Collection of Larry Kirkland and Brendan Doyle
Calling Home, 1988
Wire mesh, gauze, plaster, and paint | 70 x 24 x 13 in.
Collection of Donna Drummond
16
compared to the bulky accoutrements we surround ourselves
with in Western culture (cars, lawn chairs, baby carriages, and so
on). While Bourdette’s Melissas are slightly dark and eerie, their
gestures are animated and alive with implied movement. Though
they are distanced from the real-life experience of most contem-
porary viewers, they also strike an elemental chord of recogni-
tion that ties one culture or era to another.
Bourdette continued to investigate the fi gure, with gestures and
implied meaning, in human-scale works such as Calling Home
(1988), Cosmonaut (1988), and Falling Angels (1989). Cosmonaut, in
particular, sports a direct reference to contemporary culture: The
fi gure’s thigh-high hip boots are papered with comics. Gazing
down at his legs, he appears befuddled at having waded into
the cosmos of pop culture.
In these three works, Bourdette’s skill with the human fi gure is
evident, as is her deft suggestion of expression, but the fi gures
are enigmatic. Form, here, is subjugated to latent emotion. The
absence of specifi c facial features and the tactility of each fi gure’s
surface remind one of Manuel Neri’s fi gure studies. But Bourdette
is not investigating human form per se, unless one considers the
body a vessel, its thin skin shaped by the elusive and incorporeal
volume it contains. By focusing on the human body as both the
generator and the recipient of emotions and thoughts, she taps
into the immediacy and accessibility of fi guration: Inhabiting a
body is at once the most authentic and universal experience
of being human. Bourdette is also interested in another aspect
of the human experience: ambiguity, a theme she frequently
invokes in her work. The fi gure in Calling Home cradles her uterus
with one hand; is this a female fi gure owning her femininity as
the seat of her power? Is the fi gure in Falling Angels beseeching
heaven? For what? Rain? Falling angels? What is revealed coex-
ists with what is concealed.
17
From Figure to Form
In the 1990s, Bourdette’s work moved away from her earlier, rela-
tively naturalistic views of the human body. Her Pay Dirt (1990)
combines a humanoid fi gure made of found sheet metal, posed
on hands and knees atop a wooden, wheeled trolley, the bed
of which is a drawer opened just enough to reveal its contents:
soil. Here Bourdette is experimenting with the formal issues
involved in combining the human form with something else — a
tool or device, in this case one meant to augment human mobil-
ity. The title speaks to the human impulse to claim turf and to tote
our stuff with us, an ironic contemporary twist on the traditional
memento mori (and in conceptual contrast to the pared-down
Pay Dirt, 1990
Wood, sheet metal, wire mesh, pigments, and soil | 42 x 23 x 44 in.
Collection of Ronald and Maxine Linde
fi gures of Squatting Melissas). Although the scale of Pay Dirt is,
again, human, the metal fi gure on wheels conjures a child’s toy,
a trifl ing image for the vain attempts humans make to clutch at
possession. The piece is a visual pun, but, as with a good joke,
the punch line is equal measures humor and calamity.
Another work from this period is Bulb (1991), an imaginary con-
traption mounted onto a single, rudimentary wheel. The main
body of the piece is a swollen, tubular form with an opening
at the top — it brings to mind a debris chute from a demolition
job, or the drum of a cement mixer, and the scruffy surface of
18
the piece recalls construction materials. But the form is also the
same shape as a rhizome and is therefore seductively fecund
with the potential for new creation. It raises the hope that one
might be able to insert something mundane into the snout and
see the item appear below, magically transmuted. This sugges-
tion — the potential for transformation or transmutation — is
another leitmotiv of Bourdette’s work. Often this artist’s objects
feel as though they are one thing melding into another — here,
an abstracted body verging to the form of a vehicle. But Bour-
dette refuses to provide too many clues for her viewers, prefer-
ring to allow us to form our own conclusions.
Bulb, 1991
Plywood, wire mesh, cardboard, and sheet metal | 53 x 23 x 35 in. 19
The Mother Molds (1991–92) were originally a trio of objects that
Bourdette assembled as a convocation, although, unlike the
Squatting Melissas, the Mother Molds are not fi gurative. Rather,
she has gathered three barrel-shaped forms, each crafted from
interior wooden hoops clad with vertical lath staves. The slats
are spaced so that one can easily peer inside and observe that
what seems like a skeleton for each form is simultaneously skin,
a visual metaphor for the Hermetic concept “as within, so with-
out.” Do these objects allude to the human condition of mother-
hood? Again, Bourdette does not make this clear, although each
of the Molds asserts a personality of sorts. One seems to bodily
angle forward, as if bending down toward a child; another is
cocked off-axis, as if a hip were jutting out. But the sentimentally
charged concept of “mother” seems too loaded for a sculptor
as cool and elegant as Bourdette. Mother Molds might just as
likely refer to a more practical defi nition of “mold” — a form or
framework that creates or imparts a shape to a thing. Even more
specifi cally, “mother mold” is a technical term used in casting
three-dimensional objects. When a mold requires an outer
structure to hold its parts together, the protective outer shell is
called the “mother mold” — paradoxically, a function that could
also apply to the mother-child relationship. The irony here is
that these structures cannot contain anything, so pervious is their
sheathing; like the body/receptacle, the interior life is worn on
the exterior. Perhaps, instead, these are molds to accommodate
the fl uidity of thoughts or feelings, known to thrive best when
the free-fl owing exchange of ideas is encouraged.
20
Mother Molds, 1991–92
Plywood, shellac, and wood Venetian blind slats | 48 x 32 x 32 in. each (approximate)
21
Punch and Comma, 1992
Found sheet metal and wood | 20 x 11 x 13 in. and 23 x 10 x 13 in.
Collection of Marc Labadie and Susan Feldman
Bonnet, 1994
Pastel on paper | 16.5 x 14 in.
Visual Puns and Attributes
Bourdette’s curiosity is broad and far-reaching; she is intrigued
by all sorts of human experience, physical sensations as well as
emotional states. Echoes (1992) has its impetuses in sound and
the involuntary act of hearing; Punch and Comma (1992) refer-
ences writing, and therefore language, which implies speech.
Echoes is a series of six wall-mounted elements, each made of
found sheet metal. Each form is an ovoid surrounded by a
collar, and each has a gaping void at the center, an orifi ce.
Dimensionally popping off the wall, they seem like some
sort of ears. They also mimic the form one makes when cupping
one’s mouth with both hands and calling into a canyon, expect-
ing to hear one’s own voice boomerang off the chasm’s
walls. In their repetitive sequence, each element is a visual
echo of another.
Punch and Comma evokes a more subtle, potential aspect of
sound, specifi cally, infl ection. The elements of this work look
like gigantic punctuation marks, symbols to imitate patterns of
speech: One is in the shape of a comma, the other might be
the stem of a cartoony exclamation point, minus the dot — the
“punch” at the end of a proclamation. Together they suggest
both ends of quotation marks, brackets, or even quirky thought
bubbles. In writing, punctuation serves to disambiguate the
meaning of a sentence (as in the classic “Woman without her
man is nothing” versus “Woman, without her, man is nothing”),
but here the meaning of Bourdette’s shapes is purposefully
unclear. Taken out of the context of a written sentence, the
elements in Punch and Comma remain visual symbols, but of
ambiguous ideas.5
Like any artist, Bourdette has developed a vocabulary of visual
themes that recur in her work. In 1994, she began to explore
iconic images she called “bunnyheads.”6 In Bourdette’s hands,
the bunnyhead image is a stripped-down caricature of a rabbit’s
head: a dome shape with two elliptical ears jutting up, erect
and alert. Bourdette explored this theme in drawings; in fact, her
sketches are an intrinsic part of her creative process. A number
of bunnyhead sketches are quite amusing and clever: Bonnet
(1994) is an illustration of a hat with loopy ears, which might al-
low a wearer to assume her own bunnyhead. Another drawing,
Glad Hand (1994), looks like a bowling pin surmounted with
bunny ears, but a rod sticks out of its back, making it resemble a
rattle or a gavel. “I make a lot of drawings as a way of working
towards a sculpture,” Bourdette says. “I’ve learned that draw-
ing really enriches the sculptural process. It gives me a sense of
where it’s all going.”7
23
Domino (1994) is just one of several bunnyhead sculptures that
incorporate this campy-but-not-cute fi gure. Here, in wood, the
bunny’s head is encased in a sort of cage, as if ensnared — or
is it wearing a mask? The ears poke defi antly free of the muzzle,
but the entire head is mounted on top of a stick. It looks like a
weapon, a club. The bunnyhead reappears in other sculptures
from this period, Comparing Apples and Oranges (1994) and Real
or Imagined? (1995), among others. Aside from a darkly comical
presence, what can one make of the bunnyheads? Bourdette
says they are sexual metaphors, but even that statement is rife
with possible interpretations: The bunnyhead could be a symbol
of innocence compromised or a stand-in for hypersexuality (like
a Playboy bunny), or represent the coyness of sexual innuendo.
For Bourdette, the bunny serves as a sort of alter ego, like Rigo-
letto’s court jester puppet, or Venetian masks during Carnavale,
concealing a secret identity.
Another form that Bourdette has explored in several works is an
attenuated funnel, or cyclone shape; Strapless, Pilot, and Tattler
(all 1992) are among these. A later example is Reliance (1996), a
narrow skeletal form made of wire netting and lined with a soft
muslin bag. Perhaps this piece gets its name from its reliance on
a delicate framework to give the inner muslin core its defi nition.
The piece is wall-mounted, with its tail draping and trailing onto
the fl oor. Reliance is another vessel, and Bourdette’s viewers
have already come to understand that, for her, the vessel is a
simulacrum for the human form, as a body is a container for
thoughts, emotions, and experiences. But Reliance is hardly
reliable as a vessel, for it could not contain much within its slim
margins and permeable walls.
Crib (1998) is yet another container, this one literally a corn crib,
since it harbors a cache of dried corn on the cob. The structure
is imposing — a full six feet high — and is made of wooden
hoops and staves, like an oversized basket. This work, perhaps
more than any other in Bourdette’s oeuvre, references certain
works of Martin Puryear, a sculptor Bourdette greatly admires.
The form of Crib also reminds one of the bunnyheads, although
24
here, with just one protruding element, the entire construction
resembles a bowling pin, or the “ear” seems like a turret, a
spire, or some other architectural device signifying the impor-
tance of this repository. The corn, of course, might symbolize
abundance and sustenance — the sense of security in a full
larder — but Crib reminds one, too, of Pay Dirt and the ultimate
futility that is the underbelly of hoarding.
Hamper (1999) was shown publicly at the same time as Crib,
an ironic and unlikely counterpoint. The titles of these two
works illustrate that Bourdette can be a masterful trickster with
language. As nouns, “crib” and “hamper” are receptacles, and
both sculptures are forms appropriate to their titles. But, as
verbs, “crib” can imply deception or masking of the truth and
“hamper” means to hinder or impede — both conceits that
Bourdette interweaves throughout her investigation of the hu-
man experience.
Crib, 1998
Wood, dried corn cobs, and beeswax | 72 x 30 x 27 in.
25
26
Bourdette also has a fascination with the Winged Victory of
Samothrace, the iconic Nike of Hellenistic Greece, a theme she
has explored in drawings such as Winged Victory Variation (1997).
A visit to Bourdette’s studio reveals her collection of Winged
Victory reproductions scattered about. This is clearly a form/
gesture that has potent meaning for the artist. Bourdette says
that Hamper is a riff on the Winged Victory, and, true enough, the
form suggests a fi gure with a mannered protuberance at about
shoulder height. (Bourdette also says that her use of the bunny-
head shape is yet another, more idiosyncratic improvisation on
the Nike.) Here the form is a relaxed volume woven out of strips
of cargo blankets, a vaguely domestic material that is anything
but cozy or comforting. The trailing strips at the sculpture’s right
edge and base seem almost like seductive plumage, recalling
the dangling tail of Reliance; there is a sense that either this ves-
sel is unfi nished or it is unraveling. Hamper is both vessel-form
and anthropomorphic body.
During this same period, Bourdette crafted two other works
rooted in Greek mythology, Daedalus (1998) and Icarus (1999).
How fi tting for the artist to investigate the Greek character
Daedalus, whose very name means “cunning worker” and who
was so skillful at constructing artifi ce that he was said to have
invented images. For this pair of sculptures, Bourdette draws on
the Greek myth that fi nds Daedalus and his son, Icarus, exiled
and imprisoned on Crete. To escape the island, Daedalus
fashions wings of wax and feathers for himself and his son, but
before they take off, he warns Icarus not to venture too close to
the sun, for its warmth will surely melt the wax. Overcome with
the exhilaration of fl ying, Icarus does fl y too close to the sun;
his wings melt and he plunges into the sea. Bourdette’s tributes
to Daedalus and Icarus recall the Renaissance in the use of at-
tributes to identify these mythological fi gures, which are formed
by long, clublike wing-shapes, made in the artist’s now familiar
hallmark wood framework. (The wings might remind one of vin-
tage wooden airplane wings, those that were covered in fabric.)
The wings of Icarus are crossed, like a big “X” propped against
the wall, an airplane propeller, or a sacrifi cial cross. The wings
themselves seem yet another permutation of the bunny ear form,
but here they are sadly charred — “too close to the sun” — the
wreckage of callow youth.8
Winged Victory, 1997
Pastel on paper | 17 x 14.5 in.
Collection of Elizabeth Leach
Opposite:
Icarus, 1999
Charred wood and cloth | 75 x 42 x 10 in.
Collection of Jeffrey Smith
27
Too Much, Not Enough, Too Much, Not Enough ..., 2000
Pastel, oil stick, and graphite on paper | 36 x 24 in.
Opposite:
Fragile Circus, 2002
Charcoal on paper | 38.5 x 25 in.
Collection of Jonathan Arlook and Judith Arcana
28
A Return to Community
In Bourdette’s next body of work, she returned to her abiding
subtext, issues surrounding community, in the series Fragile Cir-
cus (2001), which relies on animals or animal hybrids rather than
human fi gures. With a dramatic shift in scale, the artist started to
craft exquisite bird forms in cheesecloth, string, wax, and leather.
Returning to ideas she investigated in the Squatting Melissas,
now she used birds, in fl ocks, to suggest the dynamics between
individuals in community. In Audience and Waiting in the Wings
(both 2001), the birds are assembled into a ring, each individually
bound, and yoked together by string or a steel rod. In Audi-
ence, eight birds are gathered into a circle; the head of one is
shrouded by an elephant-head mask.9 Is this the leader? There
is a quirky pun here as well — “Birds of a feather fl ock together”
— but what is the viewer to make of the bird-fi gure posing as
another animal? Could this be a political statement? Bourdette
has also explored elephants in her drawings, such as Fragile Cir-
cus (2002). Elephants provide an apt subject for her, as they are
at once enormous, powerful animals, but also tender, vulnerable,
and oddly communicative with humans.
In Waiting in the Wings, all ten of the birds are frighteningly
masked with white, KKK-style hoods that resemble the cloaked
head of Scapegoat from fourteen years earlier; they also re-
semble the hoods used in the sport of falconry. What are these
creatures waiting for, annihilation? Here are creatures silenced
and blinded, bound, and facing outward, thus denied the psy-
chological security one might expect from a huddle. It is worth
noting that Audience and Waiting in the Wings, having been made
in late 2001, might refl ect the collective anxiety experienced in
the wake of the 9/11 tragedy.
29
Plain English (2002) is a wall-mounted grid installation that incor-
porates bird forms but combines them with an equal number of
hand gestures. Made of wood, leather, paper, and rubber, the
birds bob and perch while the hands are animated, as if signing
a language. Plain English is a metaphor for the exasperating futil-
ity of communicating in two different tongues, a clash of cultures
and the concurrent inability to understand one another. The
hand gesticulations are curious — the viewer is not sure what
is being said — but Bourdette is a master of the visual pun. The
hands hold small, white, ping-pong-ball–sized spheres. They are
not reaching out to pet or feed the birds; there is a now-you-
see-them-now-you-don’t quality to the gestures. This seems to
be a visual sleight of hand, as if human involvement is wittingly
or unwittingly engaged in tricking nature.
Nostalgia, 2002
Leather, rubber, wax, and steel | 13.5 x 19 x 10.5 in.
Collection of Susan McKinney and Michael de Forest
Opposite:
Plain English, 2002
Wood, leather, paper, and rubber | 41 x 60 x 9 in.
Collection of Craig Hartzman and Jim John
The trick might very well be revealed in Bourdette’s 2002 work,
Nostalgia, in which three birds, elegantly wrought in leather, are
poised in regard to a bunch of black (inedible?) bananas. Is this
another commentary on humankind’s devastation of the natural
30
31
32
world? Does the title suggest that the sweet taste of the fruit is
only a memory? The message is not overt. In the most formal
sense, Nostalgia is yet another good-natured visual pun. The
perching bird shapes mimic the gently curved bananas.
Bourdette revels in gesture; in Modest Exaggeration (2002), two
overly elongated arms are dismembered from any human body
as they reach out to the viewer. One hand is open, vulnerable;
the other is clutching a bunch of velvety, red bananas — but it
also looks as if it is exploding into some mutation of an infl amed
hand. Here, as elsewhere, Bourdette is engaged in a sort of
“canting arms,” a technique in heraldry where a visual image
stands in for a family name. Modest Exaggeration is emblematic
of a pervasive and familiar experience, that of embellishing or
enlarging a story with every retelling, the truth remaining slip-
pery and ultimately unknowable.
Bourdette’s gentle sense of humor is always sympathetic to her
viewer; she never stoops to mockery, but she is not self-effacing,
either. “I am not interested in telling my story,” she says. “I’m
more interested in the human story, the story of other people.”
Fellow Travelers (2005) at fi rst seems downright silly — Lilliputian
human fi gures striding and riding atop potatoes, cast in bronze
(the material of monuments, of all things!) and exhibited en
masse, as if these fi gures were engaged in a frivolous outdoor
game such as a sack race. The fancifulness of Fellow Travelers be-
lies the seriousness with which Bourdette regards human beings
in concert with one another. Bourdette has used the image of
the humble potato quite a bit in her work (especially in her stu-
dio discipline, to explore themes in drawings) because it is such
a modest and elemental object (from the soil, the sustenance
of peasants). It might not surprise one to learn that Bourdette
was inspired by the paintings of Pieter Brueghel the Elder, in this
work. The fi gures astride the potatoes are pared down; they are
not wearing clothes, they are both sexless and devoid of facial
features. Their scale is that of a real potato, so the works are
similar to toys or trinkets.
Scale is also of the utmost importance to Bourdette’s installa-
tion of humanoid fi gures, the Asides (2004–07). These are among
Bourdette’s most poignant and powerful groupings; they recall
the profound Squatting Melissas in their re-creation of commu-
nity. They might remind one of similar arrangements by George
Segal, except for the critical difference that Bourdette’s fi gures
are about three-quarters of life size. These are not children, nor
are they childlike, but they are child-size so as to nullify any
possibility of confronting the viewer too directly. These fi gures
are made of fi ne-grain leather, seamed and stretched across
forms made of cardboard, cotton batting, gauze, and wax. They
are not too neatly tailored, either; tabs and raw edges remain
visible. Where arms should be, there is just the drape of leather,
so the fi gures are both mutilated and debilitated. Like the Fellow
Travelers, they have no facial features, but these fi gures are mas-
culine and feminine and, unlike the Travelers, which are traveling
together but are not interacting, the Asides are poised in relation
to one another, as if they are in conversation or at least in com-
munication. These are fi gures upon which viewers might project
their own stories, as Bourdette has done nothing to draw narra-
tive out of this grouping except through their enigmatic body
language. There is a dynamic here, but not any single telling of
the story.
Modest Exaggeration, 2002
Rubber, wood, and dry pigment | 55 x 17 x 11 in.
Collection of Debra Enneking
Opposite:
Fellow Travelers, 2005
Cast bronze with ferric acid and silver nitrate patina | 5.5 x 4 x 5.5 in. each
Multiple collections including those of Martha Banyas and Michael Hoeye,
Carol Edelman, Mary Ellen Hockensmith and Michael McCulloch, and John
and Joan Shipley
33
Materials and Infl uences
Any essay on Bourdette must comment on this artist’s facile use
of materials and her consummate dedication to craft. It is a rare
artist who is this adroit and skilled at using a range of media:
wood, leather, rawhide, rubber, plaster, fabric, metals, and all
sorts of found and salvaged objects. Whether conscripting cut
strips of cargo blankets, milling raw wood into basketry, or coax-
ing leather into the shape of a bird or a person, Bourdette never
shies from materials; instead, she enlists whatever materials best
fi t her concepts. In this, Bourdette joins a number of contempo-
rary object makers who fearlessly collaborate with their materi-
als in developing an idea.
As previously mentioned, the work of Martin Puryear has been
a major infl uence on Bourdette, and clearly his works in which
cagelike shapes and wood joinery dominate fi nd resonance in
Bourdette’s work. Puryear’s Desire (1981) and Vessel (1997–2002,
which encompasses a monumental ampersand, a parallel to
Bourdette’s Punch and Comma) have much in common with
formal qualities explored by Bourdette, although without the
obsessive fi nesse of craftsmanship that is so much a hallmark of
Puryear’s work. Bourdette also cites British sculptors Tony Cragg,
Richard Deacon, Bill Woodrow, and Richard Wentworth as infl u-
ences on her work — perhaps Wentworth most of all, for his
adeptness at assembling found elements into his works.
It is with other women sculptors that Bourdette shares most in
the tradition of three-dimensional work. Eva Hesse, with her ex-
perimental use of materials, found objects, and tongue-in-cheek
titles, is a precursor to Bourdette, but so are Louise Bourgeois
and Lee Bontecou. Bourgeois is deeply absorbed by human
relationships; indeed, her seminal work One and Others (1955)
is a grouping of anthropomorphic fi gures that could easily be
considered antecedents to Bourdette’s Totem.10 But, by contrast,
Bourgeois openly mines her own life experiences (born of an
unhappy childhood), while Bourdette is equally strident about
keeping her own personal narrative at a distant remove. Bonte-
cou, on the other hand, uses fi gurative, organic, and mechanistic
elements to reference states of transformation between the
natural and human-made, but Bontecou’s early works, in which
she stretched canvas over framework forms, employed an addi-
tive process much like the one Bourdette used in Asides. Finally,
Bourdette’s expansive drawing oeuvre owes much to Susan
Rothenburg, who shares with Bourdette a vigorous, almost
painterly style of draftsmanship.
“Form is the many faces of the legend — bardic, epic, sculptural,
musical, pictorial, architectural; it is the infi nite images of religion;
it is the expression and the remnant of self. Form is the very
shape of content,” writes Ben Shahn,11 alluding to the artist’s fun-
damental role. Bourdette, with the mind of an archaeologist and
the technical skill of Daedalus, absorbs the present human condi-
tion with an eye for irony, wry humor, patience with ambiguity,
and, ultimately, the ability to distill the pertinent. Then she sets to
work in her studio. Her works — creatures, vehicles, vessels —
become artifacts of the collective experience.
Linda Brady Tesner is the director of the Ronna and Eric Hoffman
Gallery of Contemporary Art at Lewis & Clark College.
34
1 The is a fantastic “encyclopedia” (written in an imaginary and undecipher-
able language) designed by Italian artist, architect, and designer Luigi Serafi ni
(b. 1949); the was originally published by Franco Maria Ricci in Milan in 1981.
Other interesting parallels to Bourdette’s work include Serafi ni’s artist book
called , based on the Neapolitan masked fi gure Pulcinella (see Bourdette’s
bunnyhead sculptures), and Serafi ni’s collaboration with dance companies
and fi lmmakers. The is generally available through interlibrary loan programs.
2 Bourdette’s fi rst dealer in Portland was the much-loved William Jamison,
whose gallery exhibited folk art before it evolved into the city’s premier
venue for contemporary art in the 1980s and early ’90s.
3 The model was Melissa Marsland, partner of fi lmmaker Jim Blashfi eld.
4 Barry Johnson, , in the magazine supplement to the Sunday , March 5, 1989,
pp. 12–14.
5 Bourdette’s interest in language, the written word, and narrative content led
her to envision an installation called . . . , fi rst presented at the Bush Barn Art
Center in Salem in 1990, then reinstalled at the Jamison Thomas Gallery in
Portland in 1991. Bourdette was inspired to retell the Little Red Riding Hood
story in a dioramalike setting, using only limited and semi-unfamiliar language
coupled with interpretive visual cues. In this fairytale-based installation, Bour-
dette shares a theme with sculptor Kiki Smith, but whereas Smith used the
Little Red Riding Hood story to set up points of identifi cation for herself and
her viewers, Bourdette was intrigued by the experiment of communicating
narrative with spare or ambiguous clues.
6 The term “bunnyheads” was coined by Jim Blashfi eld, who was inspired
by this body of Bourdette’s work to make the animated short fi lm called
in 2007.
7 D. K. Row, “What Are You Working On? Christine Bourdette: Drawing for a
start,” , June 18, 2000, section E, p. 2.
8 Bourdette cites British artist David Nash as an infl uence on her work, and
Nash’s practice of burned wood as a medium in his sculpture bears a similar-
ity to the charred wings of . Also, Bourdette experienced a tremendous loss
of artwork when her Chicago gallery, Klein Gallery, burned to the ground
in 1989. Although the fi re predates by ten years, the aesthetic presence of
charred material remained of interest to the artist.
9 Bourdette made an Elephant Man skeleton puppet for Jim Blashfi eld, who
used it in his animated video for Michael Jackson’s (1989). The puppet was in
reference to Jackson’s obsession with acquiring the skeleton of the Elephant
Man, an interesting parallel to Bourdette’s investigations of human frailty,
irony, and acquisitiveness.
10 Louise Bourgeois’ work (1984) includes an eleven-inch-high bronze fi gure
of a woman wrapped in a spiral, which is not unrelated to Bourdette’s .
11 Ben Shahn, , 1957, Harvard University Press, p. 53.
Reliance, 1996
Muslin, steel, and wire | 114 x 16 x 18 in.
35
PLATES
Riddle Ace, 1987
Wood, found wood, wire mesh, plaster, and paint | 46 x 24 x 12 in.
Collection of Jan Jacobsen and Paul Hart
38
Foresight, 1987
Plywood, leather, plaster, and shredded wood | 20.5 x 70 x 20 in.
Collection of Terry Pancoast and Pamela Erickson
39
40
Opposite (left to right):
Vehicle 1, 1990
Plywood, wire mesh, paint, shellac, and found sheet metal | 48 x 33 x 17 in.
Vehicle 2, 1990
Plywood, wire mesh, paint, shellac, and canvas | 51 x 26 x 19 in.
Brake, 1990
Plywood, paint, and found sheet metal | 39 x 30 x 43 in.
This page (left to right):
Vehicle 1Vehicle 2
41
Stride, 1991
Plywood, lath, cardboard, tin, paint, putty, and shellac | 47 x 22 x 35 in.
42
Echoes, 1992
Found sheet metal | Six objects, each 19 x 11 x 8 in., overall dimensions variable
Multnomah County Portable Works Collection, Percent for Art direct purchase
Left:
Bully Pulpit, 1992
Found sheet metal, painted wood, leather, and casters | 83.5 x 12 x 17 in.
Strapless, 1992
Oak veneer and poplar | 68 x 18 x 17 in.
Collection of Joan and John Shipley
44
Tattler, 1992
Found sheet metal, shellac, and wood | 62 x 16 x 24 in.
Pilot, 1992
Found sheet metal and wood | 66 x 21 x 17 in.
45
Confession, 1992
Poplar, found plywood, and paint | 74 x 19 x 16 in.
46
Catch, 1994
Pastel on paper | 26 x 59.75 in.
Collection of Don Merkt and Melissa Stewart
47
Comparing Apples and Oranges, 1994
Wood | 28 x 42 x 14 in.
Collection of Lucinda Parker and Stephen McCarthy
48
Real or Imagined? 1995
Rawhide and wood | 20 x 27 x 10 in.
Collection of Carol I. Bennett
Alter Egos: Domino, 1994
Wood | 32 x 8 x 11 in.
The Bonnie Bronson Collection, Reed College
49
Selective Memory, 1996
Crinoline, steel, and wood | 44 x 32 x 12 in.
Confi rmation and Denial, 1996
Steel, tulle, wood, and wax | 47 x 27 x 17 in.
Collection of Larry Kirkland and Brendan Doyle
50
Table of Contents, 1996
Watercolor and charcoal on paper | 69 x 63 in.
Flim Flam, 1996
Wood and muslin | 9 x 34 x 9 in.
New Outfi t, 1997
Pastel on paper | 27 x 18 in.
Daedalus, 1998
Found wood from Indonesian carvings | 21 x 89 x 12 in.
Collection of Craig Hartzman and Jim John
52
Impasse,1998
Pastel and charcoal on paper | 48 x 39 in.
54
Hamper, 1999
Quilted blanket strips | 69 x 44 x 14 in.
55
Voracious, 2001
Cast bronze | goose size
Understudies, 2001
Cotton twill tape and hair | 60 x 45 x 11.5 in.
56
Murmur, 2001
Wax, cheesecloth, and string | 14 x 39 x 5 in.
Collection of the Boise Art Museum
58
Waiting in the Wings, 2001
Steel, cheesecloth, string, wax, and leather | 7 x 14 in. (diameter)
Collection of Dorie Vollum
Audience, 2001
Steel, cheesecloth, string, wax, and leather | 12 x 14 (diameter) in.
Collection of Julie Mancini
59
Emcee, 2001
Wood, charred wood, and sheet music | 75.5 x 20 x 20 in.
60
Leviathan, 2001
Gauze, string, wax, and steel | 8 x 18 x 8 in.
Collection of John David Forsgren
Spirit Thirst, 2002
Pastel on paper | 30 x 22 in.
Collection of Kathy Scanlan
61
Mistaken Identity, 2006
Pastel, charcoal, ink, and watercolor on paper | 30 x 44 in.
62
Beloved World, Shrinking World, 2002
Wood, cloth, leather, and dry pigment | 18.5 x 10 x 8 in.
Collection of Martha Banyas and Michael Hoeye
Kingpins, 2002
Wood, paper, and gesso | 27.5 x 20 x 10.5 in.
Miller Meigs Collection
63
Muss, 2002, 2005
Wood, cotton twill tape, paint, and artifi cial and human hair | 19 x 8 x 8 in.
64
Cluster I, 2007
Ink on paper | 28 x 22 in.
Opposite:
Asides, 2004–07
Leather, wood, cardboard, pigment, and wax | 44 x 13 x 11 in. each (approximate)
EXHIBITION CHECKLISTCourtesy of the artist and Elizabeth Leach Gallery, except where noted.
Dimensions are in inches; height precedes width precedes depth.
Totem, 1986–87
Found wood, plaster, sheet metal, and paint | Dimensions variable, approximately 72.5 x 90 x 15
Scapegoat, 1987
Found wood, birch veneer, paper target, wire mesh, and plaster | 70 x 16 x 15
Collection of Larry Kirkland and Brendan Doyle
Riddle Ace, 1987
Wood, found wood, wire mesh, plaster, and paint | 46 x 24 x 12
Collection of Jan Jacobsen and Paul Hart
Squatting Melissa: Blind, 1987
Wood, wire mesh, plaster, and paint | Life size
Collection of the Tacoma Art Museum
Gift of Steven and Nancy Oliver
Squatting Melissa: Delivery, 1987
Wood, wire mesh, plaster, and paint | Life size
Collection of the Portland Art Museum
Foresight, 1987
Plywood, leather, plaster, and shredded wood | 20.5 x 70 x 20
Collection of Terry Pancoast and Pamela Erickson
Calling Home, 1988
Wire mesh, gauze, plaster, and paint | 70 x 24 x 13
Collection of Donna Drummond
Dance Lesson VI, 1988
Ink on paper | 52 x 36
Murdoch Collection
Falling Angels, 1989
Wire mesh, plaster, paint, and wax | 55 x 22 x 18
Collection of Larry Kirkland and Brendan Doyle
Vehicle 1, 1990
Plywood, wire mesh, paint, shellac, and found sheet metal | 48 x 33 x 17
Vehicle 2, 1990
Plywood, wire mesh, paint, shellac, and canvas | 51 x 26 x 19
Pay Dirt, 1990
Wood, sheet metal, wire mesh, pigments, and soil | 42 x 23 x 44
Collection of Ronald and Maxine Linde
Stride, 1991
Plywood, lath, cardboard, tin, paint, putty, and shellac | 47 x 22 x 35
Bulb, 1991
Plywood, wire mesh, cardboard, and sheet metal | 53 x 23 x 35
Mother Mold, 1991–92
Plywood, shellac, and wood Venetian blind slats | 48 x 32.5 x 32.5
Echoes, 1992
Found sheet metal | Six objects, each 19 x 11 x 8, overall dimensions variable
Multnomah County Portable Works Collection, Percent for Art direct purchase
Confession, 1992
Poplar, found plywood, and paint | 74 x 19 x 16
Punch and Comma, 1992
Found sheet metal and wood | 20 x 11 x 13 and 23 x 10 x 13
Collection of Marc Labadie and Susan Feldman
Strapless, 1992
Oak veneer and poplar | 68 x 18 x 17
Collection of Joan and John Shipley
Pilot, 1992
Found sheet metal and wood | 66 x 21 x 17
Tattler, 1992
Found sheet metal, shellac, and wood | 62 x 16 x 24
Bully Pulpit, 1992
Found sheet metal, painted wood, leather, and casters | 83.5 x 12 x 17
Rotunda, 1993
Pastel on paper | 36 x 48
Lasso, 1993
Pastel on paper | 36 x 48
Comparing Apples and Oranges, 1994
Wood | 28 x 42 x 14
Collection of Lucinda Parker and Stephen McCarthy
Alter Egos: Domino, 1994
Wood | 32 x 8 x 11
The Bonnie Bronson Collection, Reed College
Alter Egos: Near a State of Nature, 1994
Wood and leather | 32 x 8 x 10
The Bonnie Bronson Collection, Reed College
Alter Egos: Loose Lips, 1994
Wood, leather, rubber, and rawhide | 31x 8 x 8
The Bonnie Bronson Collection, Reed College
Alter Egos: Blunt, 1994
Wood, leather, rubber, and rawhide | 27 x 10 x 10
The Bonnie Bronson Collection, Reed College
Alter Egos: Angelcakes, 1994
Wood, leather, rubber, and rawhide | 33.5 x 8 x 10.5
The Bonnie Bronson Collection, Reed College
66
Real or Imagined? 1995
Rawhide and wood | 20 x 27 x 10
Collection of Carol I. Bennett
Flim Flam, 1996
Wood and muslin | 9 x 34 x 9
Reliance, 1996
Muslin, steel, and wire | 114 x 16 x 18
Tête à Tête, 1996
Muslin, rubber, and wood | 21 x 4.5 x 4.5; 22 x 4 x 4
Confi rmation and Denial, 1996
Steel, tulle, wood, and wax | 47 x 27 x 17
Collection of Larry Kirkland and Brendan Doyle
Selective Memory, 1996
Crinoline, steel, and wood | 44 x 32 x 12
Tap I, 1997
Pastel on paper | 26 x 20
Tap IV, 1997
Pastel on paper | 26 x 20
Collection of Cynthia and Steven Addams
Crib, 1998
Wood, dried corn cobs, and beeswax | 72 x 30 x 27
Daedalus, 1998
Found wood from Indonesian carvings | 21 x 89 x 12
Collection of Craig Hartzman and Jim John
Impasse, 1998
Pastel and charcoal on paper | 48 x 39
Icarus, 1999
Charred wood and cloth | 75 x 42 x 10
Collection of Jeffrey Smith
Hamper, 1999
Quilted blanket strips | 69 x 44 x 14
Audience, 2001
Steel, cheesecloth, string, wax, and leather | 12 x 14 (diameter)
Collection of Julie Mancini
Understudies, 2001
Cotton twill tape and hair | 60 x 45 x 11.5
Escape, 2001
Steel wire, wood, mattress ticking, tacks, and wax | 25 x 94 x 14
Collection of Joanne Rollins
Leviathan, 2001
Gauze, string, wax, and steel | 8 x 18 x 8
Collection of John David Forsgren
Voracious, 2001
Cast bronze | goose size
Emcee, 2001
Wood, charred wood, and sheet music | 75.5 x 20 x 20
Waiting in the Wings, 2001
Steel, cheesecloth, string, wax, and leather | 7 x 14 (diameter)
Collection of Dorie Vollum
Modest Exaggeration, 2002
Rubber, wood, and dry pigment | 55 x 17 x 11
Collection of Debra Enneking
Reach, 2002
Leather, wood, wax, and antler | 82 x 7.5 x 5.5
Kingpins, 2002
Wood, paper, and gesso | 27.5 x 20 x 10.5
Miller Meigs Collection
Beloved World, Shrinking World, 2002
Wood, cloth, leather, and dry pigment | 18.5 x 10 x 8
Collection of Martha Banyas and Michael Hoeye
Nostalgia, 2002
Leather, rubber, wax, and steel | 13.5 x 19 x 10.5
Collection of Susan McKinney and Michael de Forest
Muss, 2002, 2005
Wood, cotton twill tape, paint, and artifi cial and human hair | 19 x 8 x 8
Asides, 2004–07
Leather, wood, cardboard, pigment, and wax | 44 x 13 x 11 each (approximate)
Fellow Travelers, 2005
Cast bronze with ferric acid and silver nitrate patina | 5.5 x 4 x 5.5 each
Collections of Martha Banyas and Michael Hoeye, Carol Edelman, Mary Ellen
Hockensmith and Michael McCulloch, and John and Joan Shipley
Mistaken Identity, 2006
Pastel, charcoal, ink and watercolor on paper | 30 x 44
Reach, 2002
Leather, wood, wax, and antler | 82 x 7.5 x 5.5 in.
67
1952 Born Fresno, California; lives and works in Portland, Oregon
EDUCATION
1974 Lewis & Clark College, B.A. in art, Portland, Oregon
FELLOWSHIPS AND AWARDS
1992 Bonnie Bronson Fellowship Award (fi rst recipient), Portland, Oregon
1993 Monomania, Monotype printmaking residency, Pacifi c Northwest College of
Art, Portland, Oregon
2000 Individual artist fellowship award, Regional Arts & Culture Council,
Portland, Oregon
2007 Caldera, artist residency, Sisters, Oregon
SELECTED SOLO EXHIBITIONS
1976 Artists of Oregon: Paperworks, Portland Art Museum, Portland, Oregon; Roy
DeForest, curator
1977 Artists of Oregon Annual, Portland Art Museum, Portland, Oregon
Construction Zone: The Pleasures of Building, Pence Gallery, Davis, California
1978 Legs Akimbo, Mayer Gallery, Marylhurst College (now Marylhurst University),
Marylhurst, Oregon
1979 The Evergreen State College Art Gallery, installation, Olympia, Washington
Mixed Media Constructions, Wentz Gallery, Museum Art School,
Portland, Oregon
1980 Garden State, installation, Portland Art Museum, Portland, Oregon
Standing Target installation, Contemporary Crafts Gallery, Portland, Oregon
1981 Express: Fast and Furious, outdoor installation, Northwest Artists Workshop,
Portland, Oregon
1982 Ex Post Presto, window installations, sponsored by the Artemisia Gallery at
the Franklin Building, Chicago, Illinois
Olive’s Garden, installation, Klein Gallery, Chicago, Illinois
1984 Great Expectations and Little Wrinkles, installation, Herron Gallery, Herron
School of Art, Indianapolis, Indiana
Installation and Small Works, Traver Sutton Gallery, Seattle, Washington
Klein Gallery, Chicago, Illinois
1984–85 Rites of Passage, traveling exhibition, Alexandria Museum, Alexandria,
Louisiana; Trisolini Gallery, Ohio University, Athens, Ohio; Kirkland Gallery,
Milliken University, Decatur, Illinois; The Art Gym, Marylhurst College, Maryl-
hurst, Oregon; Klein Gallery, Chicago, Illinois
CHRISTINE BOURDETTE
68
1986 Common Nature, installation and collaborative performance with Dave Storrs,
Portland Art Museum, Portland, Oregon
Klein Gallery, Chicago, Illinois
1987 Common Nature/New Constructions, Klein Gallery, Chicago, Illinois
Créatures, Galerie l’Aire du Verseau, Paris, France
Poltergeist III: We’re Back …, exhibition used in fi lm, Metro Goldwyn Mayer
Productions
1988 Klein Gallery, Chicago, Illinois
Northwest Viewpoints, Wentz Gallery, Portland Art Museum, Portland,
Oregon; John S. Weber, curator
1989 Klein Gallery, Chicago, Illinois
1990 … a thousand words, installation, Bush Barn Art Center, Salem, Oregon, and
Jamison Thomas Gallery, Portland, Oregon
1991 Vehicles, Jamison Thomas Gallery, Portland, Oregon
1993 Capacity, installation, Hoffman Gallery, Oregon School of Arts and Crafts
(now Oregon College of Art and Craft), Portland, Oregon
Monotypes, Wentz Gallery, Pacifi c Northwest College of Art, Portland, Oregon
Sequences and Assemblies, Jamison Thomas Gallery, Portland, Oregon
1994 Devices, Jamison Thomas Gallery, Portland, Oregon, and Kittredge Gallery,
University of Puget Sound, Tacoma, Washington
1995 Devices, doohickeys and thingumajigs, Tyler Museum of Art, Tyler, Texas, and
Klein Art Works, Chicago, Illinois
1996 Sculpture and Related Studies, Elizabeth Leach Gallery, Portland, Oregon
1997 Landscape of Desire, installation, Elizabeth Leach Gallery, Portland, Oregon
1998 Drawing and Sculpture, Fairbanks Gallery, Oregon State University,
Corvallis, Oregon
1999 Sustenance, Elizabeth Leach Gallery, Portland, Oregon
2001 Fragile Circus, Elizabeth Leach Gallery, Portland, Oregon
2002 New Work, Elizabeth Leach Gallery, Portland, Oregon
2005 Small Universes, Elizabeth Leach Gallery, Portland, Oregon
2008 Elizabeth Leach Gallery, Portland, Oregon
Riddles, Bunnyheads, and Asides, Marylhurst University, Marylhurst, Oregon
SELECTED GROUP EXHIBITIONS
1977 Erected Sets, Northview Gallery, Portland Community College, Portland, Oregon
1978 Northwest Artists Workshop, Portland, Oregon
1979 Arts Place, Portland, Oregon
The Open Gallery, Eugene, Oregon
1980 Fairbanks Gallery, Oregon State University, Corvallis, Oregon
Mountain High II, sponsored by Contemporary Crafts Gallery at Timberline
Lodge, Mount Hood, Oregon
1981 Four Constructions, The Art Gym, Marylhurst College, Marylhurst, Oregon
The Loop Show, sponsored by Randolph Street Gallery at the Fisher Building,
Chicago, Illinois
1982 Olive’s Garden, installation, Klein Gallery, Chicago, Illinois
1983 Chicago Sculpture International: Mile 2, Art Expo ’83, Navy Pier, Chicago, Illinois
Habitats, Klein Gallery, Chicago, Illinois
1983 American Book Art Now, Elvehjem Museum of Art, Madison, Wisconsin
Anxious Interiors, Laguna Beach Museum of Art, Laguna Beach, California;
Elaine Dines, curator
Oregon Biennial, Portland Art Museum, Portland, Oregon
Works in Paper, USA TODAY Building, Arlington, Virginia
1984 Small but Hot! Burpee Art Museum, Rockford, Illinois; Robert McCauley, curator
Time and Space, Visual Arts Center of Alaska, Anchorage, Alaska
1985 Artists from the Klein Gallery, Illinois Wesleyan University, Peoria, Illinois
Sculpture Overview 1985, Evanston Art Center, Evanston, Illinois
1986 Fetish Art: Obsessive Expressions, Rockford Art Museum, Rockford, Illinois
Now and Then …, Northwest Artists Workshop, Portland, Oregon
Painting and Sculpture Today, Indianapolis Museum of Art, Indianapolis, Indiana
1987 Christine Bourdette, Jim Clausnitzer and Ann Gardner, The Art Gym,
Marylhurst College, Marylhurst, Oregon
The Figure, Jamison Thomas Gallery, Portland, Oregon
Kunst Rai 87 art fair, with Galerie l’Aire du Verseau (Paris), Amsterdam, The
Netherlands
1988 Endangered Species, Klein Gallery, Chicago, Illinois
A Midsummer Night’s Dream, Blackfi sh Gallery, Portland, Oregon; Joel
Weinstein, curator
Urban Concerns, Evanston Art Center, Evanston, Illinois
1990 Contemporary West Coast Sculpture, Jamison Thomas Gallery,
Portland, Oregon
Faces, Figures, Gestures and Signs, Portland Art Museum, Portland, Oregon;
John S. Weber, curator
PDX-CVO, Fairbanks Gallery, Oregon State University, Corvallis, Oregon
1991 As the War Ended, The Art Gym, Marylhurst College, Marylhurst, Oregon
1992 Sculpture in the Landscape, Marylhurst College, Marylhurst, Oregon
Sign of the Cross, Jamison Thomas Gallery, Portland, Oregon
Spirit of the West, A Celebration of the Arts, West One Bank traveling exhibi-
tion; Kristin Poole, curator
1993 Crosscut (Oregon Biennial), Portland Art Museum, Portland, Oregon; John S.
Weber and Kristy Edmunds, curators
Volume: No Noise, Klein Art Works, Chicago, Illinois
1996 Fifteenth Anniversary Show, Elizabeth Leach Gallery, Portland, Oregon
The Tool Show, Portland Institute for Contemporary Art, Portland, Oregon;
Paul Arensmeyer, curator
Wentz Gallery, Pacifi c Northwest College of Art, Portland, Oregon
1997 Oregon Biennial, Portland Art Museum, Portland, Oregon; Kathryn Kanjo, curator
Portland — Black and White, Froelick Adelhart Gallery, Portland, Oregon
1997 Drawing Invitational, Campbell Hall Gallery, Western Oregon State College,
Monmouth, Oregon
1998 Elizabeth Leach Gallery, Portland, Oregon
Northwest Contemporaries: Self-Examination, Vita Gallery, Portland, Oregon
1999 Frozen Moments: Contemporary Still Life in the Northwest, Bush Barn Art
Center, Salem, Oregon
2000 Wonder Women, The Art Gym, Marylhurst University, Portland, Oregon
2002 Stitch by Stitch, Elizabeth Leach Gallery, Portland, Oregon
2003 Core Sample: Later, sponsored by Marylhurst University at Portland Institute
of Contemporary Art, Portland, Oregon; Nan Curtis, curator
Drawing, Elizabeth Leach Gallery, Portland, Oregon
2004 23+ on 9th, Elizabeth Leach Gallery, Portland, Oregon
2005 Drawing(s), The Art Gym, Marylhurst University, Marylhurst, Oregon
War Drawings, Visual Arts Gallery, Mount Hood Community College,
Gresham, Oregon
2006 Gender Studies Symposium Exhibition, Lewis & Clark College, Portland, Oregon
SELECTED COMMISSIONS
1983 Flocking to the Temple and We’re Gonna Get Harried, temporary outdoor
installation, Artquake festival, Portland, Oregon
1985 Great Leap Forward, site-specifi c sculpture for high school,
Kettle Falls, Washington
1988 Terrestrials, temporary outdoor installation, Artquake festival, Portland, Oregon
1991 Consumer Reliquaries, site-specifi c sculpture for Lloyd Center mall,
Portland, Oregon
1997 Beside Ourselves, site-specifi c works for Juvenile Justice Center
Portland, Oregon
1996–98 Gathering Rail/Gathering In, site-specifi c works for light-rail station,
Hillsboro, Oregon
1998 Show and Tell, bronze sculpture series for Baptist/Nemours Children’s
Hospital, in collaboration with Larry Kirkland, Jacksonville, Florida
1998–2001 Time Flies, enamel wall panels for airport light-rail station, Portland, Oregon
2003–07 Circulations, sequence of eight sculptures along pedestrian walkway,
Kirkland, Washington
69
2003–08 Points of View, site-specifi c sculptures for four light-rail stations,
Tempe, Arizona
2005 Bloom Cycle, site-specifi c lobby sculpture for Bank of America Tower,
Seattle, Washington
2006 Tree of Life, bronze doors for hospital chapel, Mercy Medical Center,
Roseburg, Oregon
2007–09 Cairns, site-specifi c stone markers for three light-rail stations, Portland, Oregon
2007–09 Site-specifi c works in progress, Cooper Mountain Natural Area, Oregon
SELECTED COLLABORATIVE PROJECTS
1986 Common Nature, installation and performance, music by Dave Storrs and
Mike Curtis, Portland Art Museum, Portland, Oregon
1989 Elephant Man, animated sculpture for Leave Me Alone, Michael Jackson
music video, Jim Blashfi eld Studio, Portland, Oregon; Jim Blashfi eld, director
1990 You Can’t Tell Me from One Another, stage design with Mark Loring,
Oregon Stage Company, Portland, Oregon; Victoria Parker and Melissa
Marsland, directors
1991 Moving Around and Telling It Still, stage design and narrative collaboration
with Ursula K. Le Guin and Judy Patton, Artquake festival, Portland, Oregon
1992 Film property for Even Cowgirls Get the Blues, New Line Cinema;
Gus Van Sant, director
Stage property for Partitio, Portland, Oregon; Kristy Edmunds, director
1993 New Work: A Performance Collaboration, stage design and performance
with Judy Patton and Zoa Smith, Portland, Oregon
1995 Animation for Hand Held (animated short fi lm), Priestley Motion Pictures,
Portland, Oregon; Joanna Priestley, director
1996–2007 Consultant, collaborator, and muse for Bunnyheads (animated short fi lm),
Jim Blashfi eld Studio, Portland, Oregon; Jim Blashfi eld, director
1997 Animation for Utopia Parkway (animated short fi lm), Priestley Motion Pictures,
Portland, Oregon; Joanna Priestley, director
1998–2001 Design team, Tri-Met Airport MAX light rail, with artist Vicki Scuri, ZGF
Architects (now Zimmer Gunsul Frasca Architects LLP), Bechtel and Port
of Portland, Portland, Oregon
1999 Design team, Multnomah County Building, with artist Whitney Nye and
architects Fletcher Farr Ayotte
Stage design for dance, Five by Four with Twelve, Minh Tran Dance Company,
Portland, Oregon
2001 Design team, intermodal mall with Otak architects, Portland, Oregon, and
Corvallis, Oregon
2003 Stage design for dance, Nocturnal Path, Minh Tran Dance Company,
Portland, Oregon
2003–07 Design team, Sound Transit and Totem Lake HOV Access Project with David
Evans Associates and Washington State Department of Transportation,
Seattle, Washington
2005 Stage design for dance, Forgotten Memories, Minh Tran Dance Company,
Portland, Oregon
2007 Stage design for dance, SKY, Oslund+Co. Dance, Portland, Oregon
2007–09 Cooper Mountain Natural Area design team with Vigil-Agrimis Inc.,
Portland, Oregon
PUBLIC COLLECTIONS
Boise Art Museum, Boise Idaho
Bonnie Bronson Collection, Reed College, Portland, Oregon
Central Puget Sound Regional Transit Authority (Sound Transit), Seattle, Washington
City of Portland, Oregon (portable works collection and public sculpture)
Equity Offi ce Properties, Bank of America Tower, Seattle, Washington
Lloyd Center, Portland, Oregon
Milliken University, Decatur, Illinois
Oregon Health Sciences University, Portland, Oregon
Portland Art Museum, Portland, Oregon
Racine Art Museum, Racine, Wisconsin
Tacoma Art Museum, Tacoma, Washington
TriMet Transportation Authority, Portland, Oregon
University of Iowa Art Museum, Iowa City, Iowa
Valley Metro Rail, Phoenix, Arizona
Washington State Schools Art Collection, Kettle Falls, Washington
SELECTED BIBLIOGRAPHY
Allan, Lois, “Christine Bourdette,” Contemporary Art in the Northwest, New South Wales,
Australia: Craftsman House with G & B Arts International, 1995
— “Christine Bourdette,” Visions Quarterly, Summer 1993
— “Instinctively Anthropological,” Artweek, April 10, 1991
Artner, Alan G., “Installations Open Windows on Art,” Chicago Tribune, July 30, 1982
Barden, Renardo, “Feminist Inventiveness,” Willamette Week, Nov. 19–25, 1987
— “WW Art Choice,” Willamette Week, June 1–7, 1989
— “WW Art Choice,” Willamette Week, June 21–27, 1990
Bataillon, Françoise, “Mark Alsterlind, Christine Bourdette, Harvey Goldman, Michelle
Stone Galerie l’Aire du Verseau,” Art Press, No. 114, May 1987
“Bestiaire en Délire,” Vogue, French Edition, No. 674, March 1987
Bonansinga, Kate, Capacity, exhibition brochure, Portland, Oregon: Oregon School of
Arts and Crafts, 1993
Prevaricators, 2004
Pastel and charcoal on paper | 24 x 36 in.
Opposite:
Dance Lesson VI, 1988
Ink on paper | 52 x 36 in.
Murdoch Collection
70
— “Christine Bourdette at Jamison Thomas,” Art in America, March 1995
Bonesteel, Michael, “Art Facts: Artists Run Rampant, All Bets Off,” The Reader,
July 10, 1981
Bowie, Chas, “Stitch by Stitch,” Portland Mercury, December 26, 2002
Bryant, Elizabeth, “Christine Bourdette at Jamison Thomas Gallery,” Refl ex Magazine,
July/August 1990
Cowan, Ron, “A Thousand Words: Cryptic Show Opens in Salem,” Statesman Journal,
January 11, 1990
Ellison, Victoria, “Sculptors’ Works Only Semisolid,” The Oregonian, September 20, 1996
Glowen, Ron, “Spatial Challenges,” Artweek, December 13, 1980
Gragg, Randy, “Landscape of Objects,” The Oregonian, May 30, 1998
— “Make Art, Not War,” The Oregonian, April 14, 1991
— “Portland Sculptor Wins New Bonnie Bronson Fellowship Award,” The Oregonian,
January 22, 1992
— “Room with a View,” The Oregonian, October 15, 1993
Griffi n, Rachel, “Spatial Exercises: For One Appearance Only,” The Oregonian,
December 21, 1980
Hopkins, Terri, Sculpture in the Landscape, exhibition brochure, Marylhurst, Oregon:
The Art Gym, Marylhurst University, September 1992
Hull, Roger, “Lively Creations Paper Museum,” The Oregonian, March 14, 1976
Johnson, Barry, “ Conceptual Artists Take Outside Inside Portland Art Museum,”
The Oregonian, July 25, 1986
— “Critic’s Choice,” The Oregonian, November 20, 1987
— “The Pull of the Primitive,” Northwest Magazine, The Oregonian, March 5, 1989
Kanjo, Kathryn, Oregon Biennial, exhibition catalog, Portland, Oregon:
Portland Art Museum, 1997
Lafo, Rachel Rosenfi eld, Spatial Exercises, exhibition brochure, Portland, Oregon:
Portland Art Museum, 1980
Larson, Jon M., “Artists’ Works Show True Response to War,” Lake Oswego Review,
April 1991
Lautman, Victoria, “They’re Baaaaa-ack from the Movies,” Chicago Tribune,
June 12, 1988
Lowry, M., “Christine Bourdette,” Northwest Originals: Oregon Women and Their Art,
Ellen Nichols, editor, Portland, Oregon: InUNISON Publications, 1989
Lundy, Larry, Christine Bourdette, exhibition catalog, Chicago, Illinois: Klein Gallery, 1982
Lyon, Christopher, “Site-Oriented Installations at Klein Gallery,” The Reader, April 2, 1981
McMorran, Megan, “Art Gym Show Delights,” The Business Journal Magazine,
January 28, 1985
— “Later,” Core Sample: Portland Art Now, Astoria, Oregon: Clear Cut Press, 2004
— Since Olive’s Garden: Rites of Passage, exhibition catalog, Alexandria, Louisiana:
Alexandria Museum; and Chicago, Illinois: Klein Gallery, 1984
Mississippi Mud, Untitled drawing, Joel Weinstein, editor and publisher, No. 36, 1991
Mississippi Mud, A pen and ink drawing, Joel Weinstein, editor and publisher, No. 37, 1994
Moore, Dick, “Christine Bourdette,” NW Art Journal, September/October 1990
Moore, Iris, “Illusions of Narrative,” Refl ex Magazine, November/December 1993
Roberts, Prudence, “Christine Bourdette and Mark Smith at Elizabeth Leach Gallery,”
Artweek, November 2005
Rocchia, Andy, “Local Artists Explore Space with Construction Works,” Oregon Journal,
November 20, 1980
Row, D.K., “Christine Bourdette: Drawing for a Start,” The Oregonian, June 18, 2000
— “Skin Deep,” Willamette Week, September 18, 1996
— “Through a Trial by Fire,” The Oregonian, March 26, 1998
Séguin, Jean-Paul, “Créatures,” Kanal, No. 2930, June/July 1987
Small but Hot! exhibition catalog, Rockford, Illinois: Burpee Art Museum, 1984
Stirling, Kassandra Kelly, “Artist at Work,” The Downtowner, January 13, 1992
Sutinen, Paul, “A Room with a View,” Willamette Week, December 9–15, 1980
— “Christine Bourdette at Jamison Thomas Gallery,” Visions Quarterly, Fall 1990
— “Indoor Artwork,” Willamette Week, July 1–7, 1980
Swaim, Bob, “Les Créatures Diaboliques de Bob Swaim: Le Loup-Garou de Christine
Bourdette,” 7 à Paris, April 8–14, 1987
Weber, John S., Christine Bourdette: Sculpture and Drawings, exhibition catalog, Portland,
Oregon: Portland Art Museum, 1988
— Recent Creatures and Permutations, exhibition catalog, Chicago, Illinois:
Klein Gallery, 1986
Weinstein, Joel, “Sculpture Shows: Bodies of Art, “The Oregonian, February 17, 1995
Whittemore, L.J., “Wild Ride,” The Oregonian, April 26, 1991
71
Tap I, 1997
Pastel and graphite on paper | 26 x 20 in.
Tap II, 1997
Pastel and graphite on paper | 26 x 20 in.
Collection of Teresa Jordan and Hal Cannon
Tap III, 1997
Pastel and graphite on paper | 26 x 20 in.
Collection of Cynthia and Steven Addams
Tap IV, 1997
Pastel and graphite on paper | 26 x 20 in.
Collection of Cynthia and Steven Addams
72
The Art Gym Marylhurst University
